Pi - System im Chaos

Pi is the kind of movie I wished I could've seen in one of those dank art-house movie theaters in New York City, as it's practically gift-wrapped for the crowds. But it's not done with every shot lingering on the characters, soaking in minimalism in its black and white photography, quite the opposite. Darren Aronofsky is a filmmaker I first got into through Requiem for a Dream, which now years after I saw it I want to revisit again upon the soon to be released the Fountain and especially after now seeing Pi. Before with 'Requiem', I did like the movie a lot, but felt a little apprehensive about deeming it that old term 'masterpiece' as the editing, while ultra fast for a purpose, almost came off as too "MTV" for me. But years later, after hundreds of more films taken in, I'm ready for a second look. In this particular case, Pi is also the kind of movie that warrants a second look at the director's other films. His themes run just as much together as does his breakneck style. And it's not just to show off; he truly does get inside a psychology through subjective camera AND editing, to a degree that might impress Hitchcock, albeit with some whiplash.

Max Cohen played by Sean Gullette is the protagonist of the story, who's main foe is none other than the universe itself, in a sense, all through one number. Or rather, a series of numbers, one which might unlock the Stock Market secret for him. He doesn't even want to play the market, mind you, but the point for him- if one can follow- might be attributed to a repeated memory he has of looking at the sun as a boy, and soon looking past the shock of actually looking long at it. This is a very small device by Aronofsky but it works well to establish- and continue- this man's downward spiral. And spirals, by the way, seem to also figure into the film, as well as a secret technology firm (with a woman who reminded me of Condaleeza Rice look-alike), and especially a near undercover Hasidim ring where they need the numbers *in* Cohen's head to unlock some big secret to God. But even with all of this pressure, Cohen can't shake what's dogging him around, in his own cramped, wire-ridden apartment, with many bugs crawling around.

The key for this movie really is atmosphere, in the acting (if it makes you uncomfortable sometimes that's the point too, and it's probably the strangest performance of a lifetime for Gullette), the production design (that apartment and the subways), the grainy, spectacular photography by Matthew Libatique, the editing to be sure- which here, unlike the breakneck 'Requiem', does take a break from the cuts so quick they almost past subliminally (which isn't bad)- and the moody music that is so slight you almost forget its there. It even works for me, and this is a big plus, as someone who's not really interested in mathematics (worst subject in school), and even better as it drew me in to his obsessions with it. I really liked one of the early scenes between Max and his the friendly Hassidic man who explains on paper different numbers and their relation to parts of the Torah. And, in the end, it all comes down to getting engrossed through what the filmmaker's bringing in with this man. There is a sort of detachment from reality- that most of us would never touch much of this with a ten foot pole- but then again it really isn't. Aronofsky also makes a point of some hallucinations/dreams adding to the ambiance, skidding almost towards the pretentious, and thus creating a world all of its own in Pi for Max, and for us as well.

A film that I shall certainly seek out again when I can, if only to see if I can understand some things a little more (or maybe not as case might be), and to see such a powerhouse performance from Gullette. Grade: A

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the movie has some guidelines that follow the mathematical path, though strangely interpreted. It resembles the Lynch series, ("Eraserhead" actually), though Lynch uses more colour... I recommend it to all the freaks (lest they should go nuts like Max...) and to the movie freaks, that like to admire pure art. the number i've written is PI, with the precision of 216 decimals... and don't fool yourselves, it doesn't have any pattern, it just runs infinitely...

This screenplay must have been turned down one hundred times before someone would finance it. I don't blame them. However, what could have been a travesty was saved by great acting, directing, cinematography, and sound. This brilliant/bizarre film turns a genius's quest to find the code for Wall Street into an adventure that engulfs all of human existence, and God. A brilliant example of how proper film making can turn straw into gold. Some viewers may be put off by the bizarre fits the main character faces, or the intrusion of complex mathematics into film, forcing the viewer to think, but if you watch this film, you will be rewarded a unique movie-going experience few other films will give you. This film gives you a look into the mind of man plagued by the genius he was given.

I am generally wary of movie portrayals of scientists and people who are supposedly scientific geniuses. It seems that most movie-makers are not scientifically inclined and never manage to do a convincing job. Pi, however, is a very interesting movie and Sean Gullette does a reaonably good job of portraying a genius on the edge of insanity. My fears that this would be another typical bad science movie were quelled very quickly, never to return again. Of course, they didn't get all the details down pat, but most of it was believable (or close) and some of it was correct. Comments on science aside though, I think this was one of the more interesting, and certainly one of the most original, movies I have seen this year.There are provocative metaphors hidden (well, not very deeply) throughout the movie (esp. the bugs), and the subject is so completely novel that it is really worth seeing. In conclusion I would say that if you think a movie about number theory would be boring, in regard to this movie you would be wrong. If, like me, you think a movie about number theory would be exciting but probably done badly, then you will have to accept that this movie is not really about number theory, but about a number theorist. As far as the execution goes though, you needn't worry about it, it is a pleasant relief from the usual.

'Pi' is independent filmmaking at its best. Without the constraints of the studio/corporate system, Aronofsky and Gullette created a film that is bizarre, intelligent, and unlike anything that came out of Hollywood in the 1990's. Who would have thought to blend Wall Street, the Kabbalah, computer science, Go, number theory, and the most fascinating number in the universe in a solute of obsessive-compulsive, paranoid genius and then strain through gritty B&W cinematography and hyperkinetic editing? The mixture is definitely not for everybody, but I certainly loved it.

Plus the soundtrack (featuring Orbital, Clint Mansell, Aphex Twin. Gus Gus, Spacetime Continuum, and other techno talents) just flat-out rocks.